Barbe-bleue (; ) is a ballet-féerie in three acts and seven scenes, originally choreographed by Marius Petipa to the music of . The libretto was created by the author and dramatist Countess Lydia Pashkova from the fairy tale Bluebeard by Charles Perrault. The ballet was first presented by the Imperial Ballet on at the Imperial Mariinsky Theatre in St. Petersburg, Russia, the first performance being a benefit in honor of Marius Petipa's fiftieth anniversary in service to the St. Petersburg Imperial Theatres.
Roles and original cast
RoleDancerBluebeardPavel GerdtYsaure de RenouallePierina LegnaniArthurSergei LegatAnne de RenoualleOlga PreobrajenskaEbremard de RenoualleJosef KschessinskyRaymond de RenoualleAlexander OblakovYsaure's friendClaudia KulichevskayaThe KnightNikolai AistovThe Spirit of CuriosityOlga LeonovaVenusMathilde Kschessinskaya
History Marius Petipa created the ballet Bluebeard for his own benefit performance given in honor of his 50th anniversary of service to the St. Petersburg Imperial Theatres. The ballet was given a lavish production of the most sumptuous costumes and décor, with the Mariinsky Theatre's machinists creating complex and rapid stage metamorphoses. Many critics who attended the ballet's premier complained that Bluebeard sacrificed plot and artistic sensibilities in favor of spectacle, with the libretto merely serving as an excuse for elaborate stage transformations and even more elaborate dances. Nevertheless, Petipa's dances for Bluebeard were universally hailed as masterworks of classical choreography. The critic from the St. Petersburg Gazette commented on the danced numbers in Bluebeard:
Although Bluebeard was very successful during its opening run, the ballet did not find a permanent place in the repertory of the Imperial Ballet. The last presentation of the full-length production of Bluebeard was given in 1899 for the benefit performance of Pierina Legnani. In 1901, the first and third acts of the ballet were given as part of a program staged for the farewell benefit of Legnani before retiring to her native Italy.
A revival of Bluebeard was mounted for the Imperial Ballet in 1910 by the premier danseur and pedagogue Nikolai Legat. As with the ballet's original inception in 1896, the first performances of Legat's revival of Bluebeard were successful. Nevertheless, the large cast the ballet required and in particular the complex stage effects were impossible to produce by the outset of World War I in 1914. The full-length Bluebeard was performed for the last time in 1913. Excerpts from the ballet were given sporadically in galas and benefit performances until 1916, when the ballerina Elsa Vill and the danseur Fyodor Lophukov were featured in a performance of Petipa's celebrated Pas de deux éléctrique.
In 2009, the Russian choreographers Yuri Burlaka and Vasily Medvedev utilized pieces from Pyotr Schenk's score for Bluebeard in their revival of La Esmeralda for the Bolshoi Ballet, with the music accompanying a new Grand pas des fleurs in the second act.
In 2014, Vasily Medvedev staged a new version of the Grand Pas de deux électrique from Bluebeard as the Grand pas électrique for the Dance Open Festival Gala at the Alexandrinsky Theatre in St. Petersburg. The performance featured Kristina Kretova and Semyon Chudin from the Bolshoi Ballet in the leads and framed by four couples.
Résumé of scenes and dances Taken from the piano reduction of Pyotr Schenk's score as issued by the publisher P. Jurgenson.
Act I, Scene 1 Introduction No. 01 Scène d'Arthur et des pages No. 02 L'aubade No. 03 Scène d'amour (Solo de violon pour Mons. Léopold Auer) No. 04 Danse des pages No. 05 Scène des frères de Ysaure No. 06 Marche et scène de la retinue de Barbe-Bleue No. 07 Danse des enfants du village No. 08 Pas d'action: Le concours des prix pour la danse— —a. Andante —b. Variation (Vivace) —c. Variation (Tempo di valse) —d. Variation (Quasi orientale) —e. Variation (Pizzicato) —f. Coda No. 09 Distribution des prix et Paysannerie normande No. 10 Grand pas d'action— —a. Adage (solo de la violoncelle pour Mons. Nikolai Galkin) —b. Variation (Moderato) —c. Variation (Tempo di mazurka) —d. Variation (Tempo di valse) —e. Variation (Vivace) —f. Coda-valse No. 11 Final Act II, Scene 1 No. 12 Introduction et scène de la toilette d'Ysaure de Renoualle No. 13 "L'angélique": Canzonetta d'Arthur sur le luth (Solo de la harpe pour Mons. Albert Zabel) No. 14 Passepied No. 15 Scène dansante: Le coquetterie devant le miroir No. 16 Entrée de Barbe-bleue et scène d'amour No. 17 Scène du chevalier No. 18 Scène des clefs No. 19 Départ de Barbe-bleue No. 20 L'apparition et scène de l'Esprit de Curiosité No. 21 Premier panorama
Act II, Scene 2 No. 22 Le caveau de l'argenterie No. 23 Bacchanale No. 24 Deuxième panorama
Act II, Scene 3 No. 25 Pas oriental— —a. Adage japonais —b. Danse hindoue —c. Variation orientale —d. Coda orientale No. 26 Troisième panorama
Act II, Scene 4 No. 27 Pas des pierres précieuses— —a. Scène et valse —b. Entrées des rubis, des émeraudes, des saphirs et des diamants —c. Variation diamantée —d. Valse des pierres précieuses No. 28 Final
Act III, Scene 1 No. 29 Scène dramatique: "Sœur Anne, ne vois-tu rien venir?"
Act III, Scene 2 No. 30 Grand polonaise No. 31 Divertissement astrologique— —a. Entrée des astrologues —b. Danse astronomiques —c. Groupes et constellations —d. Danse des étoiles —e. Variation de Vénus —f. Valse des étoiles Le temps passé No. 32 Évocation et la Gaillarde No. 33 La Monaco Le temps présent No. 34 Évocation et polka fin de siècle Le temps futur No. 35 Évocation du futur No. 36 Grand pas de deux électrique— —a. Adage —b. Variation du Premier danseur: Mons. Sergei Legat —c. Variation de la Première danseuse: Mlle. Pierina Legnani —d. Coda No. 37 Danse générale: Le cotillon No. 38 Apothéose
Gallery
Libretto
Act I
A garden in front of the castle owned by the De Renounalle family
To the left, the castle with machicolated towers and a large window and door leading on to the terrace. In the depths of the garden is an elaborate gate and railing, through which can be seen a beautiful landscape dominated by Bluebeard's cast. It is a morning in early spring
Arthur, a page, who is in love with Ysaure de Renoualle, steals into the castle belonging to her brothers. Having made certain that he has entered unobserved, he signs to his fellow pages, who creep in masked and bearing musical instruments. Under Arthur's direction, they prepare to serenade Ysaure.
During the serenade, Ysaure appears; she listens with pleasure to the music. Arthur entreats her to descend. She agrees and the lovers embrace. Meanwhile, her brothers, Raymond and Ebremard, watch the proceedings from the shelter of a gallery. A dance is formed in which the lovers take part and at this point, the brothers enter and the merriment abruptly ceases. They order Arthur to unmask. The page and his friends remove their masks. Arthur tells the brothers that he is passionately in love with Ysaure and asks for her hand. They point out his poverty and the stupidity of his request. Arthur admits his lack of wealth, but continues to urge his love, which only arouses the brothers' laughter. Raymond and Ebremard go to their sister and inform her that Bluebeard, a wealthy neighbor, is a suitor for her hand; they counsel her to accept him. Ysaure is filled with grief, but accedes to her brothers' wishes and enters the castle to prepare for her suitor's visit.
Trumpets are heard and the Major-domo announces the arrival of an important visitor. Through the garden gates winds a magnificent procession, which includes the sad-faced Arthur and finally, Bluebeard himself. The brothers accord him every honor, while Ysaure descends the steps and offers him a cup of wine. Bluebeard asks Ysaure for her hand. She hesitates, then consents. Arthur cannot disguise his sorrow. Bluebeard offers Ysaure his arm and together they mount the terrace, where members of his retinue are presented to her. The betrothal is celebrated by a succession of dances.
Ysaure is delighted to see Arthur among the dancers and they exchange words of love. Ysaure's brothers, seeing her happy mood, attribute it to her pleasure in the match they have made. Bluebeard gazes passionately at his fiancée so that Arthur's jealousy is aroused, but he is helpless. When the dances finally end, Ysaure's ladies bring in a wedding gown in which they clothes their mistress, who then takes her place in a litter, which is borne in procession for the wedding ceremony. Arthur, left alone, gives way to tears.
Bluebeard and Ysaure return and the married couple, attended by their retinue, go towards the former's castle. Arthur wishes to offer Ysaure a flower, but her sister stays his hand. As the unhappy page bestows a farewell glance on his beloved, the curtain falls.
Act II
Scene 1 - Ysaure's Chamber
The rear wall is adorned with a large mirror screened by a curtain. To the left is a rich four-poster bed with hangings. To the right, a couch. Ysaure is making her toilette, while her ladies offer her flowers and other articles of adornment. Arthur entertains Ysaure by playing on lute
Anne and Arthur dance a passepied. Then Ysaure orders the curtain to be drawn and she dances in front of the mirror. Footsteps announce the approach of Bluebeard who, entering the room, hurries to his wife. Meanwhile, Anne and Arthur withdraw. While Bluebeard converses with Ysaure, Arthur enters and announces that a knight desires an audience with him. Surprised and annoyed, Bluebeard consents to receive him. The knight enters and, having delivered a warlike message from his lord, flings his gauntlet. Bluebeard picks up the gage and accepts the challenge. The knight departs.
Bluebeard tells his wife that he must set out on a military expedition, but promises soon to return. Ysaure expresses her sorrow, but is secretly delighted at the thought of his departure. He bids her not to languish in his absence, but to amuse herself with games and dances. He also gives her a collection of keys fashioned of various metals, which afford access to his underground treasure-chambers. She may use all these keys save one, which is made of iron, and if she disobeys him in that respect, he warns her of his severe displeasure. Distant horns are heard. Bluebeard's retainers enter with a suit of armor, which they buckle on their lord. Ysaure passes her scarf over his shoulders. He kisses her and departs. Ysaure, left alone, is all eagerness to try the keys, especially the forbidden one. In the distance can be heard the fading tones of a military march.
Ysaure is now visited by the Spirit of Curiosity, who tries to make Ysaure follow her underground. With a golden key the Spirit of Curiosity opens a door on the left and descends the stairs.
Scene 2 - The First Underground Chamber
The walls are lined with glittering vessels of gold and silver; there are gold candelabras with candles and caryatides bearing baskets of flowers on their heads
The Spirit of Curiosity leads Ysaure through the right-hand door into the chamber. Ysaure is amazed at the treasures it contains. Suddenly, the caryatids become alive and the candles burst into flame. The gold and silver vessels become animated and cause a vast clanging as they jostle together. At the conclusion of their dance, Ysaure opens another door with a silver key.
Scene 3 - The Second Underground Chamber
"Here the walls are covered with wonderful materials of all shapes and sizes and from every country."
All these precious things come to life. There is a Japanese dance with a fan, a Hindu dance, an Eastern variation, a coda and a final ensemble. Then Ysaure opens the left-hand door with a diamond key.
Scene 4 - The Third Underground Chamber